We return to our coverage of Kia sedans today and discuss a midsize from just prior to the flagship Enterprise we discussed last time. Kia offered the first midsize car to bear its branding in 1987 when it introduced the new Concord. Concord was essentially a broughamed, front-rear clip swap take on the GC platform Mazda 626. Mazda discontinued the GC 626 that year and immediately sold the platform and tooling to Kia. A couple of years later, the Concord spawned a lesser sibling called the Capital. Capital looked very similar to the Concord but sold to a more economically-minded customer with its much lower level of equipment and low-powered engines.

When the Capital finished up its run in 1997, it was replaced by a compact car Kia had on sale for a few years already: The Sephia. Sephia wouldn’t do for Concord-level customers though, and upon the sedan’s discontinuation in 1995 they were directed to an all-new Kia. The company was ready with its new midsize to bookend the Concord, and it went on sale the same year. Though the new car was again on a donated platform, it was the first time Kia had some leeway to design a midsize of their own. It’s time to discuss Credos.

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We’ve reached the end of the Nineties in Kia’s midsize-or-more sedan story. It was a time of modernization across Kia’s portfolio, and 1998 and 1999 were years of expansion in particular: Kia introduced an impressive nine all-new models across those two years.

For its larger sedan lineup, the dated Potentia (a rework of the Eighties Mazda Luce) continued on in its popularity in the South Korean market. Potentia was updated from its original 1992 looks for 1998.  However, that same year Kia introduced a new large luxury sedan to its lineup. The company once again relied on friendly product partner Mazda. Let’s talk about Enterprise.

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Jeep has long been an iconic American namesake, building on its image as a brand for rugged off-roading. That said, Jeep has recently gone more upscale, and that trend continues into 2023.

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The reborn Stutz brand introduced its Blackhawk in 1971. It was a mostly hand-built and Virgil Exner-styled coupe atop a late Sixties Pontiac Grand Prix platform. Despite its rather common underpinnings, the Blackhawk found an immediate clientele among the very wealthy who were of a showbiz variety. After Elvis took delivery of the first Blackhawk sold (prototype two, to be precise), celebrities of various stature placed their orders with Stutz.

This gave the Blackhawk status and immediate luxury credibility, however garish and Extra Super Seventies it all was. Thus, Stutz increased the price of the Blackhawk throughout its debut decade and effectively doubled its profits by the turn of the Eighties. By 1981 the Blackhawk’s base price was $84,500 ($279,242 adj.). But Stutz knew it would have to update its coupe to keep buyers coming back for more, and the majority of updates took the form of trim differentiation and cost-cutting. Let’s talk about the multiple generations of Blackhawk.

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We pick Kia’s large-car story once more today, at a point when the Korean manufacturer was in the midst of establishing itself as a proper full-line automaker, albeit with contributions from various other automotive firms. After Kia built Fiats and Peugeots via knock-down kits, it moved on to a light rework of the early Eighties Mazda 626. It made two cars out of the 626, its first midsize offerings. They were the upscale Concord and lesser (but still sort of upscale looking) Capital. But before we move on to the company’s first truly full-size car, we need to talk about the Mercury Sable for a moment.

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We pick back up in the Stutz story today, at a time when (once again) all was new and promising at the luxury brand. Under the company’s new ownership, Stutz had the funding for Italian craftsmanship and hand-built goodness. The all-new Stutz Blackhawk entered production in 1971.

Nineteen feet long and full of wood, precious metals, and optional mink upholstery, the Blackhawk asked for a stunning amount of money that was far greater than domestic personal luxury coupes and more than a Rolls-Royce. At a base ask of $22,500 ($162,533 adj.) in 1971 dollars, there were few cars that actually competed with the Blackhawk’s purchasable exclusivity. And said exclusivity attracted some very wealthy people. Let’s talk celebrity status.

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In our last Stutz entry, we saw the once famed luxury maker resuscitated by an entrepreneurial banker. Still headquartered in Indianapolis, Indiana, the newly renamed Stutz Motor Car of America, Inc. built a neoclassical coupe to excite lovers of polyester, personal luxury, and a mélange of styling cues from the Twenties and Thirties. The company’s first offering was the new Blackhawk, styled in a baroque Pontiac kind of way by Virgil Exner.

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We pick up the Stutz story again today, as the super luxurious American brand went off to the automotive graveyard in the sky. Troubled by braking issues, dated product, and management keen to ignore the brand’s racing heritage, Stutz poured its limited development dollars onto delivery trucks and a rather sophisticated DOHC straight-eight engine. Both those developments were finished around the time of the Great Depression.

Unfortunately for Stutz, circa 1930 there was little demand for a new type of delivery truck, and really no demand at all for six-figure (adjusted) luxury cars. The company went bankrupt in 1937 and was liquidated fully in 1939. But the legendary name was not forgotten by certain people in Indianapolis who wore wide lapel suits.

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Today we reach the 22nd and final installment in the Imperial series. In our last edition, we reviewed the development and birth of the final production car to wear the Imperial name: The super-extended K-car platform known as the Y-body. Lee Iacocca was keen on the idea of a full-size luxury sedan for the elderly customer, but Chrysler had neither the resources nor the platform to do it properly. Thus the Y-body appeared, and its angular and pencil-thin shape went on sale in 1990 alongside the similarly lengthened Chrysler New Yorker Fifth Avenue. Speaking of angles, let’s talk about that sweet money-saving clip swap action.

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Today’s Rare Ride was randomly mentioned among some other Lexus discussion on Twitter, and your author knew it immediately needed coverage here. This very special RX was conceived at a time when McCartney and Lexus were particularly chummy and financially interested in one another. Lexus worked up a bespoke special edition car as an homage to the legendary star. And though the resulting homage was even more cringe-inducing than its title might suggest, it was at least created for a good cause. You might say this particular Lexus RoX.

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We find ourselves at the final two installments of the long-running Imperial series today. It’s been almost six months since the first Imperial entry, when a new model was dreamt up by Chrysler’s founder as competition for the likes of Pierce-Arrow and Studebaker. The Imperial name outlived most of the Twenties competition it was designed to beat, though along the way it drifted both nearer and further to the original mission. The concluding entrant into the Imperial lineage was definitely the weakest ever. K-car time, commence!

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We’ve come to the end of our Cressida journey, and the short-lived fourth generation. Conservative and staid as ever, Cressida’s final entry was squeezed out of the lineup from above and below: The crushing weight of Lexus came down upon the late Eighties Cressida shortly after its introduction, while Camry smashed it from below. Put on your Urban Sombrero and let’s go.

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The Rare Rides series has covered every generation of Aston Martin’s Lagonda four-door except one. In the Sixties, the Lagonda Rapide helped to define the super sedan class: A grand tourer that could sweep four passengers and their luggage across Continental Europe with ease.

Then there was the late Seventies Lagonda, which had a long production run through 1990. Advanced electronically, that Lagonda was too ambitious and generally earned its reputation as a good-looking, expensive disaster. Finally, there was the Lagonda Taraf, a large sedan designed specifically and cynically for the UAE market. It was built to extract maximum dollars from oil barons and the like. Great success!

But between Lagonda Rapide and Lagonda was a missing link. It was called the Lagonda Series I and is the rarest Aston Martin Lagonda ever made. And one is for sale.

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Today we pick up our Stutz series once more, at the dawn of 1929. Stutz wasn’t in the best way at the time: Its vehicles, though very luxurious, were selling slowly, and were largely seen as behind the times with the luxury competition. Management had taken the company’s advertising in a new direction in the second half of the Twenties and was largely ignoring the company’s racing pedigree – the thing that put Stutz on the map.

There was no Bearcat in the company’s lineup, as wares drifted further from performance and more into elegance territory. And finally, given the company’s financial struggle and recent lack of interest in motorsport, the board room discontinued all support for racing activities in 1928. The sole promising source of money was the distribution rights for the Pak-Age-Car, which saw the delivery trucks placed alongside luxury cars in Stutz showrooms. Things went downhill further as the Great Depression loomed.

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Here we are, the 20th installment of the Imperial series. We’ve covered the Imperial’s inception as a coach-built car for the wealthy, through its Fifties rebirth as an independent brand with hand-built quality that rivaled the best luxury car makers had to offer. From there Imperial’s tale was ups and downs (mostly downs) as Chrysler’s luxury arm continually found itself less independent, and more tied to the New Yorker.

But after its sad Seventies cancellation, it was time for an Eighties rebirth under the direction of CEO Lee Iacocca. He was determined to make the best, most exclusive American personal luxury coupe money could buy. To date we’ve learned about the angular bustle back exterior, the J-body Cordoba platform underneath, and the Cordoba-plus leather-lined interior, by Mark Cross. Today we continue with Iacocca’s close personal friend, Frank Sinatra (or ‘FS’ if you’re talking badges.)

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